codec T. Terriberry
Internet-Draft Mozilla Corporation
Intended status: Standards Track R. Lee
Expires: July 21, 2014 Voicetronix
R. Giles
Mozilla Corporation
January 17, 2014
Ogg Encapsulation for the Opus Audio Codec
draft-ietf-codec-oggopus-02git
Abstract
This document defines the Ogg encapsulation for the Opus interactive
speech and audio codec. This allows data encoded in the Opus format
to be stored in an Ogg logical bitstream. Ogg encapsulation provides
Opus with a long-term storage format supporting all of the essential
features, including metadata, fast and accurate seeking, corruption
detection, recapture after errors, low overhead, and the ability to
multiplex Opus with other codecs (including video) with minimal
buffering. It also provides a live streamable format, capable of
delivery over a reliable stream-oriented transport, without requiring
all the data, or even the total length of the data, up-front, in a
form that is identical to the on-disk storage format.
Status of This Memo
This Internet-Draft is submitted in full conformance with the
provisions of BCP 78 and BCP 79.
Internet-Drafts are working documents of the Internet Engineering
Task Force (IETF). Note that other groups may also distribute
working documents as Internet-Drafts. The list of current Internet-
Drafts is at http://datatracker.ietf.org/drafts/current/.
Internet-Drafts are draft documents valid for a maximum of six months
and may be updated, replaced, or obsoleted by other documents at any
time. It is inappropriate to use Internet-Drafts as reference
material or to cite them other than as "work in progress."
This Internet-Draft will expire on July 21, 2014.
Copyright Notice
Copyright (c) 2014 IETF Trust and the persons identified as the
document authors. All rights reserved.
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This document is subject to BCP 78 and the IETF Trust's Legal
Provisions Relating to IETF Documents
(http://trustee.ietf.org/license-info) in effect on the date of
publication of this document. Please review these documents
carefully, as they describe your rights and restrictions with respect
to this document. Code Components extracted from this document must
include Simplified BSD License text as described in Section 4.e of
the Trust Legal Provisions and are provided without warranty as
described in the Simplified BSD License.
Table of Contents
1. Introduction . . . . . . . . . . . . . . . . . . . . . . . . 2
2. Terminology . . . . . . . . . . . . . . . . . . . . . . . . . 3
3. Packet Organization . . . . . . . . . . . . . . . . . . . . . 3
4. Granule Position . . . . . . . . . . . . . . . . . . . . . . 5
4.1. Repairing Gaps in Real-time Streams . . . . . . . . . . . 5
4.2. Pre-skip . . . . . . . . . . . . . . . . . . . . . . . . 7
4.3. PCM Sample Position . . . . . . . . . . . . . . . . . . . 7
4.4. End Trimming . . . . . . . . . . . . . . . . . . . . . . 8
4.5. Restrictions on the Initial Granule Position . . . . . . 8
4.6. Seeking and Pre-roll . . . . . . . . . . . . . . . . . . 9
5. Header Packets . . . . . . . . . . . . . . . . . . . . . . . 10
5.1. Identification Header . . . . . . . . . . . . . . . . . . 10
5.1.1. Channel Mapping . . . . . . . . . . . . . . . . . . . 14
5.2. Comment Header . . . . . . . . . . . . . . . . . . . . . 19
6. Packet Size Limits . . . . . . . . . . . . . . . . . . . . . 23
7. Encoder Guidelines . . . . . . . . . . . . . . . . . . . . . 24
7.1. LPC Extrapolation . . . . . . . . . . . . . . . . . . . . 24
7.2. Continuous Chaining . . . . . . . . . . . . . . . . . . . 25
8. Implementation Status . . . . . . . . . . . . . . . . . . . . 25
9. Security Considerations . . . . . . . . . . . . . . . . . . . 25
10. Content Type . . . . . . . . . . . . . . . . . . . . . . . . 26
11. IANA Considerations . . . . . . . . . . . . . . . . . . . . . 26
12. Acknowledgments . . . . . . . . . . . . . . . . . . . . . . . 26
13. Copying Conditions . . . . . . . . . . . . . . . . . . . . . 27
14. References . . . . . . . . . . . . . . . . . . . . . . . . . 27
14.1. Normative References . . . . . . . . . . . . . . . . . . 27
14.2. Informative References . . . . . . . . . . . . . . . . . 27
14.3. URIs . . . . . . . . . . . . . . . . . . . . . . . . . . 28
Authors' Addresses . . . . . . . . . . . . . . . . . . . . . . . 29
1. Introduction
The IETF Opus codec is a low-latency audio codec optimized for both
voice and general-purpose audio. See [RFC6716] for technical
details. This document defines the encapsulation of Opus in a
continuous, logical Ogg bitstream [RFC3533].
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Ogg bitstreams are made up of a series of 'pages', each of which
contains data from one or more 'packets'. Pages are the fundamental
unit of multiplexing in an Ogg stream. Each page is associated with
a particular logical stream and contains a capture pattern and
checksum, flags to mark the beginning and end of the logical stream,
and a 'granule position' that represents an absolute position in the
stream, to aid seeking. A single page can contain up to 65,025
octets of packet data from up to 255 different packets. Packets may
be split arbitrarily across pages, and continued from one page to the
next (allowing packets much larger than would fit on a single page).
Each page contains 'lacing values' that indicate how the data is
partitioned into packets, allowing a demuxer to recover the packet
boundaries without examining the encoded data. A packet is said to
'complete' on a page when the page contains the final lacing value
corresponding to that packet.
This encapsulation defines the required contents of the packet data,
including the necessary headers, the organization of those packets
into a logical stream, and the interpretation of the codec-specific
granule position field. It does not attempt to describe or specify
the existing Ogg container format. Readers unfamiliar with the basic
concepts mentioned above are encouraged to review the details in
[RFC3533].
2. Terminology
The key words "MUST", "MUST NOT", "REQUIRED", "SHALL", "SHALL NOT",
"SHOULD", "SHOULD NOT", "RECOMMENDED", "NOT RECOMMENDED", "MAY", and
"OPTIONAL" in this document are to be interpreted as described in
[RFC2119].
Implementations that fail to satisfy one or more "MUST" requirements
are considered non-compliant. Implementations that satisfy all
"MUST" requirements, but fail to satisfy one or more "SHOULD"
requirements are said to be "conditionally compliant". All other
implementations are "unconditionally compliant".
3. Packet Organization
An Opus stream is organized as follows.
There are two mandatory header packets. The granule position of the
pages on which these packets complete MUST be zero.
The first packet in the logical Ogg bitstream MUST contain the
identification (ID) header, which uniquely identifies a stream as
Opus audio. The format of this header is defined in Section 5.1. It
MUST be placed alone (without any other packet data) on the first
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page of the logical Ogg bitstream, and must complete on that page.
This page MUST have its 'beginning of stream' flag set.
The second packet in the logical Ogg bitstream MUST contain the
comment header, which contains user-supplied metadata. The format of
this header is defined in Section 5.2. It MAY span one or more
pages, beginning on the second page of the logical stream. However
many pages it spans, the comment header packet MUST finish the page
on which it completes.
All subsequent pages are audio data pages, and the Ogg packets they
contain are audio data packets. Each audio data packet contains one
Opus packet for each of N different streams, where N is typically one
for mono or stereo, but may be greater than one for, e.g.,
multichannel audio. The value N is specified in the ID header (see
Section 5.1.1), and is fixed over the entire length of the logical
Ogg bitstream.
The first N-1 Opus packets, if any, are packed one after another into
the Ogg packet, using the self-delimiting framing from Appendix B of
[RFC6716]. The remaining Opus packet is packed at the end of the Ogg
packet using the regular, undelimited framing from Section 3 of
[RFC6716]. All of the Opus packets in a single Ogg packet MUST be
constrained to have the same duration. A decoder SHOULD treat any
Opus packet whose duration is different from that of the first Opus
packet in an Ogg packet as if it were an Opus packet with an illegal
TOC sequence.
The coding mode (SILK, Hybrid, or CELT), audio bandwidth, channel
count, duration (frame size), and number of frames per packet, are
indicated in the TOC (table of contents) in the first byte of each
Opus packet, as described in Section 3.1 of [RFC6716]. The
combination of mode, audio bandwidth, and frame size, is referred to
as the configuration of an Opus packet.
The first audio data page SHOULD NOT have the 'continued packet' flag
set (which would indicate the first audio data packet is continued
from a previous page). Packets MUST be placed into Ogg pages in
order until the end of stream. Audio packets MAY span page
boundaries. A decoder MUST treat a zero-octet audio data packet as
if it were an Opus packet with an illegal TOC sequence. The last
page SHOULD have the 'end of stream' flag set, but implementations
should be prepared to deal with truncated streams that do not have a
page marked 'end of stream'. The final packet on the last page
SHOULD NOT be a continued packet, i.e., the final lacing value should
be less than 255. There MUST NOT be any more pages in an Opus
logical bitstream after a page marked 'end of stream'.
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4. Granule Position
The granule position of an audio data page encodes the total number
of PCM samples in the stream up to and including the last fully-
decodable sample from the last packet completed on that page. A page
that is entirely spanned by a single packet (that completes on a
subsequent page) has no granule position, and the granule position
field MUST be set to the special value '-1' in two's complement.
The granule position of an audio data page is in units of PCM audio
samples at a fixed rate of 48 kHz (per channel; a stereo stream's
granule position does not increment at twice the speed of a mono
stream). It is possible to run an Opus decoder at other sampling
rates, but the value in the granule position field always counts
samples assuming a 48 kHz decoding rate, and the rest of this
specification makes the same assumption.
The duration of an Opus packet may be any multiple of 2.5 ms, up to a
maximum of 120 ms. This duration is encoded in the TOC sequence at
the beginning of each packet. The number of samples returned by a
decoder corresponds to this duration exactly, even for the first few
packets. For example, a 20 ms packet fed to a decoder running at
48 kHz will always return 960 samples. A demuxer can parse the TOC
sequence at the beginning of each Ogg packet to work backwards or
forwards from a packet with a known granule position (i.e., the last
packet completed on some page) in order to assign granule positions
to every packet, or even every individual sample. The one exception
is the last page in the stream, as described below.
All other pages with completed packets after the first MUST have a
granule position equal to the number of samples contained in packets
that complete on that page plus the granule position of the most
recent page with completed packets. This guarantees that a demuxer
can assign individual packets the same granule position when working
forwards as when working backwards. For this to work, there cannot
be any gaps.
4.1. Repairing Gaps in Real-time Streams
In order to support capturing a real-time stream that has lost or not
transmitted packets, a muxer SHOULD emit packets that explicitly
request the use of Packet Loss Concealment (PLC) in place of the
missing packets. Only gaps that are a multiple of 2.5 ms are
repairable, as these are the only durations that can be created by
packet loss or discontinuous transmission. Muxers need not handle
other gap sizes. Creating the necessary packets involves
synthesizing a TOC byte (defined in Section 3.1 of [RFC6716])--and
whatever additional internal framing is needed--to indicate the
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packet duration for each stream. The actual length of each missing
Opus frame inside the packet is zero bytes, as defined in
Section 3.2.1 of [RFC6716].
Zero-byte frames MAY be packed into packets using any of codes 0, 1,
2, or 3. When successive frames have the same configuration, the
higher code packings reduce overhead. Likewise, if the TOC
configuration matches, the muxer MAY further combine the empty frames
with previous or subsequent non-zero-length frames (using code 2 or
VBR code 3).
[RFC6716] does not impose any requirements on the PLC, but this
section outlines choices that are expected to have a positive
influence on most PLC implementations, including the reference
implementation. Synthesized TOC bytes SHOULD maintain the same mode,
audio bandwidth, channel count, and frame size as the previous packet
(if any). This is the simplest and usually the most well-tested case
for the PLC to handle and it covers all losses that do not include a
configuration switch, as defined in Section 4.5 of [RFC6716].
When a previous packet is available, keeping the audio bandwidth and
channel count the same allows the PLC to provide maximum continuity
in the concealment data it generates. However, if the size of the
gap is not a multiple of the most recent frame size, then the frame
size will have to change for at least some frames. Such changes
SHOULD be delayed as long as possible to simplify things for PLC
implementations.
As an example, a 95 ms gap could be encoded as nineteen 5 ms frames
in two bytes with a single CBR code 3 packet. If the previous frame
size was 20 ms, using four 20 ms frames followed by three 5 ms frames
requires 4 bytes (plus an extra byte of Ogg lacing overhead), but
allows the PLC to use its well-tested steady state behavior for as
long as possible. The total bitrate of the latter approach,
including Ogg overhead, is about 0.4 kbps, so the impact on file size
is minimal.
Changing modes is discouraged, since this causes some decoder
implementations to reset their PLC state. However, SILK and Hybrid
mode frames cannot fill gaps that are not a multiple of 10 ms. If
switching to CELT mode is needed to match the gap size, a muxer
SHOULD do so at the end of the gap to allow the PLC to function for
as long as possible.
In the example above, if the previous frame was a 20 ms SILK mode
frame, the better solution is to synthesize a packet describing four
20 ms SILK frames, followed by a packet with a single 10 ms SILK
frame, and finally a packet with a 5 ms CELT frame, to fill the 95 ms
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gap. This also requires four bytes to describe the synthesized
packet data (two bytes for a CBR code 3 and one byte each for two
code 0 packets) but three bytes of Ogg lacing overhead are required
to mark the packet boundaries. At 0.6 kbps, this is still a minimal
bitrate impact over a naive, low quality solution.
Since medium-band audio is an option only in the SILK mode, wideband
frames SHOULD be generated if switching from that configuration to
CELT mode, to ensure that any PLC implementation which does try to
migrate state between the modes will be able to preserve all of the
available audio bandwidth.
4.2. Pre-skip
There is some amount of latency introduced during the decoding
process, to allow for overlap in the CELT mode, stereo mixing in the
SILK mode, and resampling. The encoder will also introduce latency
(though the exact amount is not specified). Therefore, the first few
samples produced by the decoder do not correspond to real input
audio, but are instead composed of padding inserted by the encoder to
compensate for this latency. These samples need to be stored and
decoded, as Opus is an asymptotically convergent predictive codec,
meaning the decoded contents of each frame depend on the recent
history of decoder inputs. However, a decoder will want to skip
these samples after decoding them.
A 'pre-skip' field in the ID header (see Section 5.1) signals the
number of samples which SHOULD be skipped (decoded but discarded) at
the beginning of the stream. This provides sufficient history to the
decoder so that it has already converged before the stream's output
begins. It may also be used to perform sample-accurate cropping of
existing encoded streams. This amount need not be a multiple of
2.5 ms, may be smaller than a single packet, or may span the contents
of several packets.
4.3. PCM Sample Position
The PCM sample position is determined from the granule position using
the formula
'PCM sample position' = 'granule position' - 'pre-skip' .
For example, if the granule position of the first audio data page is
59,971, and the pre-skip is 11,971, then the PCM sample position of
the last decoded sample from that page is 48,000. This can be
converted into a playback time using the formula
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'PCM sample position'
'playback time' = --------------------- .
48000.0
The initial PCM sample position before any samples are played is
normally '0'. In this case, the PCM sample position of the first
audio sample to be played starts at '1', because it marks the time on
the clock _after_ that sample has been played, and a stream that is
exactly one second long has a final PCM sample position of '48000',
as in the example here.
Vorbis streams use a granule position smaller than the number of
audio samples contained in the first audio data page to indicate that
some of those samples must be trimmed from the output (see
[vorbis-trim]). However, to do so, Vorbis requires that the first
audio data page contains exactly two packets, in order to allow the
decoder to perform PCM position adjustments before needing to return
any PCM data. Opus uses the pre-skip mechanism for this purpose
instead, since the encoder may introduce more than a single packet's
worth of latency, and since very large packets in streams with a very
large number of channels might not fit on a single page.
4.4. End Trimming
The page with the 'end of stream' flag set MAY have a granule
position that indicates the page contains less audio data than would
normally be returned by decoding up through the final packet. This
is used to end the stream somewhere other than an even frame
boundary. The granule position of the most recent audio data page
with completed packets is used to make this determination, or '0' is
used if there were no previous audio data pages with a completed
packet. The difference between these granule positions indicates how
many samples to keep after decoding the packets that completed on the
final page. The remaining samples are discarded. The number of
discarded samples SHOULD be no larger than the number decoded from
the last packet.
4.5. Restrictions on the Initial Granule Position
The granule position of the first audio data page with a completed
packet MAY be larger than the number of samples contained in packets
that complete on that page, however it MUST NOT be smaller, unless
that page has the 'end of stream' flag set. Allowing a granule
position larger than the number of samples allows the beginning of a
stream to be cropped or a live stream to be joined without rewriting
the granule position of all the remaining pages. This means that the
PCM sample position just before the first sample to be played may be
larger than '0'. Synchronization when multiplexing with other
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logical streams still uses the PCM sample position relative to '0' to
compute sample times. This does not affect the behavior of pre-skip:
exactly 'pre-skip' samples should be skipped from the beginning of
the decoded output, even if the initial PCM sample position is
greater than zero.
On the other hand, a granule position that is smaller than the number
of decoded samples prevents a demuxer from working backwards to
assign each packet or each individual sample a valid granule
position, since granule positions must be non-negative. A decoder
MUST reject as invalid any stream where the granule position is
smaller than the number of samples contained in packets that complete
on the first audio data page with a completed packet, unless that
page has the 'end of stream' flag set. It MAY defer this action
until it decodes the last packet completed on that page.
If that page has the 'end of stream' flag set, a demuxer MUST reject
as invalid any stream where its granule position is smaller than the
'pre-skip' amount. This would indicate that more samples should be
skipped from the initial decoded output than exist in the stream. If
the granule position is smaller than the number of decoded samples
produced by the packets that complete on that page, then a demuxer
MUST use an initial granule position of '0', and can work forwards
from '0' to timestamp individual packets. If the granule position is
larger than the number of decoded samples available, then the demuxer
MUST still work backwards as described above, even if the 'end of
stream' flag is set, to determine the initial granule position, and
thus the initial PCM sample position. Both of these will be greater
than '0' in this case.
4.6. Seeking and Pre-roll
Seeking in Ogg files is best performed using a bisection search for a
page whose granule position corresponds to a PCM position at or
before the seek target. With appropriately weighted bisection,
accurate seeking can be performed with just three or four bisections
even in multi-gigabyte files. See [seeking] for general
implementation guidance.
When seeking within an Ogg Opus stream, the decoder SHOULD start
decoding (and discarding the output) at least 3840 samples (80 ms)
prior to the seek target in order to ensure that the output audio is
correct by the time it reaches the seek target. This 'pre-roll' is
separate from, and unrelated to, the 'pre-skip' used at the beginning
of the stream. If the point 80 ms prior to the seek target comes
before the initial PCM sample position, the decoder SHOULD start
decoding from the beginning of the stream, applying pre-skip as
normal, regardless of whether the pre-skip is larger or smaller than
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80 ms, and then continue to discard the samples required to reach the
seek target (if any).
5. Header Packets
An Opus stream contains exactly two mandatory header packets: an
identification header and a comment header.
5.1. Identification Header
0 1 2 3
0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
| 'O' | 'p' | 'u' | 's' |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
| 'H' | 'e' | 'a' | 'd' |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
| Version = 1 | Channel Count | Pre-skip |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
| Input Sample Rate (Hz) |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
| Output Gain (Q7.8 in dB) | Mapping Family| |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+ :
| |
: Optional Channel Mapping Table... :
| |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
Figure 1: ID Header Packet
The fields in the identification (ID) header have the following
meaning:
1. *Magic Signature*:
This is an 8-octet (64-bit) field that allows codec
identification and is human-readable. It contains, in order, the
magic numbers:
0x4F 'O'
0x70 'p'
0x75 'u'
0x73 's'
0x48 'H'
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0x65 'e'
0x61 'a'
0x64 'd'
Starting with "Op" helps distinguish it from audio data packets,
as this is an invalid TOC sequence.
2. *Version* (8 bits, unsigned):
The version number MUST always be '1' for this version of the
encapsulation specification. Implementations SHOULD treat
streams where the upper four bits of the version number match
that of a recognized specification as backwards-compatible with
that specification. That is, the version number can be split
into "major" and "minor" version sub-fields, with changes to the
"minor" sub-field (in the lower four bits) signaling compatible
changes. For example, a decoder implementing this specification
SHOULD accept any stream with a version number of '15' or less,
and SHOULD assume any stream with a version number '16' or
greater is incompatible. The initial version '1' was chosen to
keep implementations from relying on this octet as a null
terminator for the "OpusHead" string.
3. *Output Channel Count* 'C' (8 bits, unsigned):
This is the number of output channels. This might be different
than the number of encoded channels, which can change on a
packet-by-packet basis. This value MUST NOT be zero. The
maximum allowable value depends on the channel mapping family,
and might be as large as 255. See Section 5.1.1 for details.
4. *Pre-skip* (16 bits, unsigned, little endian):
This is the number of samples (at 48 kHz) to discard from the
decoder output when starting playback, and also the number to
subtract from a page's granule position to calculate its PCM
sample position. When cropping the beginning of existing Ogg
Opus streams, a pre-skip of at least 3,840 samples (80 ms) is
RECOMMENDED to ensure complete convergence in the decoder.
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5. *Input Sample Rate* (32 bits, unsigned, little endian):
This field is _not_ the sample rate to use for playback of the
encoded data.
Opus can switch between internal audio bandwidths of 4, 6, 8, 12,
and 20 kHz. Each packet in the stream may have a different audio
bandwidth. Regardless of the audio bandwidth, the reference
decoder supports decoding any stream at a sample rate of 8, 12,
16, 24, or 48 kHz. The original sample rate of the encoder input
is not preserved by the lossy compression.
An Ogg Opus player SHOULD select the playback sample rate
according to the following procedure:
1. If the hardware supports 48 kHz playback, decode at 48 kHz.
2. Otherwise, if the hardware's highest available sample rate is
a supported rate, decode at this sample rate.
3. Otherwise, if the hardware's highest available sample rate is
less than 48 kHz, decode at the highest supported rate above
this and resample.
4. Otherwise, decode at 48 kHz and resample.
However, the 'Input Sample Rate' field allows the encoder to pass
the sample rate of the original input stream as metadata. This
may be useful when the user requires the output sample rate to
match the input sample rate. For example, a non-player decoder
writing PCM format samples to disk might choose to resample the
output audio back to the original input sample rate to reduce
surprise to the user, who might reasonably expect to get back a
file with the same sample rate as the one they fed to the
encoder.
A value of zero indicates 'unspecified'. Encoders SHOULD write
the actual input sample rate or zero, but decoder implementations
which do something with this field SHOULD take care to behave
sanely if given crazy values (e.g., do not actually upsample the
output to 10 MHz if requested).
6. *Output Gain* (16 bits, signed, little endian):
This is a gain to be applied by the decoder. It is 20*log10 of
the factor to scale the decoder output by to achieve the desired
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playback volume, stored in a 16-bit, signed, two's complement
fixed-point value with 8 fractional bits (i.e., Q7.8). To apply
the gain, a decoder could use
sample *= pow(10, output_gain/(20.0*256)) ,
where output_gain is the raw 16-bit value from the header.
Virtually all players and media frameworks should apply it by
default. If a player chooses to apply any volume adjustment or
gain modification, such as the R128_TRACK_GAIN (see Section 5.2)
or a user-facing volume knob, the adjustment MUST be applied in
addition to this output gain in order to achieve playback at the
desired volume.
An encoder SHOULD set this field to zero, and instead apply any
gain prior to encoding, when this is possible and does not
conflict with the user's wishes. The output gain should only be
nonzero when the gain is adjusted after encoding, or when the
user wishes to adjust the gain for playback while preserving the
ability to recover the original signal amplitude.
Although the output gain has enormous range (+/- 128 dB, enough
to amplify inaudible sounds to the threshold of physical pain),
most applications can only reasonably use a small portion of this
range around zero. The large range serves in part to ensure that
gain can always be losslessly transferred between OpusHead and
R128_TRACK_GAIN (see below) without saturating.
7. *Channel Mapping Family* (8 bits, unsigned):
This octet indicates the order and semantic meaning of the
various channels encoded in each Ogg packet.
Each possible value of this octet indicates a mapping family,
which defines a set of allowed channel counts, and the ordered
set of channel names for each allowed channel count. The details
are described in Section 5.1.1.
8. *Channel Mapping Table*: This table defines the mapping from
encoded streams to output channels. It is omitted when the
channel mapping family is 0, but REQUIRED otherwise. Its
contents are specified in Section 5.1.1.
All fields in the ID headers are REQUIRED, except for the channel
mapping table, which is omitted when the channel mapping family is 0.
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Implementations SHOULD reject ID headers which do not contain enough
data for these fields, even if they contain a valid Magic Signature.
Future versions of this specification, even backwards-compatible
versions, might include additional fields in the ID header. If an ID
header has a compatible major version, but a larger minor version, an
implementation MUST NOT reject it for containing additional data not
specified here. However, implementations MAY reject streams in which
the ID header does not complete on the first page.
5.1.1. Channel Mapping
An Ogg Opus stream allows mapping one number of Opus streams (N) to a
possibly larger number of decoded channels (M+N) to yet another
number of output channels (C), which might be larger or smaller than
the number of decoded channels. The order and meaning of these
channels are defined by a channel mapping, which consists of the
'channel mapping family' octet and, for channel mapping families
other than family 0, a channel mapping table, as illustrated in
Figure 2.
0 1 2 3
0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+-+-+-+-+-+-+-+-+
| Stream Count |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
| Coupled Count | Channel Mapping... :
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
Figure 2: Channel Mapping Table
The fields in the channel mapping table have the following meaning:
1. *Stream Count* 'N' (8 bits, unsigned):
This is the total number of streams encoded in each Ogg packet.
This value is required to correctly parse the packed Opus packets
inside an Ogg packet, as described in Section 3. This value MUST
NOT be zero, as without at least one Opus packet with a valid TOC
sequence, a demuxer cannot recover the duration of an Ogg packet.
For channel mapping family 0, this value defaults to 1, and is
not coded.
2. *Coupled Stream Count* 'M' (8 bits, unsigned): This is the number
of streams whose decoders should be configured to produce two
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channels. This MUST be no larger than the total number of
streams, N.
Each packet in an Opus stream has an internal channel count of 1
or 2, which can change from packet to packet. This is selected
by the encoder depending on the bitrate and the audio being
encoded. The original channel count of the encoder input is not
preserved by the lossy compression.
Regardless of the internal channel count, any Opus stream can be
decoded as mono (a single channel) or stereo (two channels) by
appropriate initialization of the decoder. The 'coupled stream
count' field indicates that the first M Opus decoders are to be
initialized for stereo output, and the remaining N-M decoders are
to be initialized for mono only. The total number of decoded
channels, (M+N), MUST be no larger than 255, as there is no way
to index more channels than that in the channel mapping.
For channel mapping family 0, this value defaults to C-1 (i.e., 0
for mono and 1 for stereo), and is not coded.
3. *Channel Mapping* (8*C bits): This contains one octet per output
channel, indicating which decoded channel should be used for each
one. Let 'index' be the value of this octet for a particular
output channel. This value MUST either be smaller than (M+N), or
be the special value 255. If 'index' is less than 2*M, the
output MUST be taken from decoding stream ('index'/2) as stereo
and selecting the left channel if 'index' is even, and the right
channel if 'index' is odd. If 'index' is 2*M or larger, the
output MUST be taken from decoding stream ('index'-M) as mono.
If 'index' is 255, the corresponding output channel MUST contain
pure silence.
The number of output channels, C, is not constrained to match the
number of decoded channels (M+N). A single index value MAY
appear multiple times, i.e., the same decoded channel might be
mapped to multiple output channels. Some decoded channels might
not be assigned to any output channel, as well.
For channel mapping family 0, the first index defaults to 0, and
if C==2, the second index defaults to 1. Neither index is coded.
After producing the output channels, the channel mapping family
determines the semantic meaning of each one. Currently there are
three defined mapping families, although more may be added.
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5.1.1.1. Channel Mapping Family 0
Allowed numbers of channels: 1 or 2. RTP mapping.
o 1 channel: monophonic (mono).
o 2 channels: stereo (left, right).
*Special mapping*: This channel mapping value also indicates that the
contents consists of a single Opus stream that is stereo if and only
if C==2, with stream index 0 mapped to output channel 0 (mono, or
left channel) and stream index 1 mapped to output channel 1 (right
channel) if stereo. When the 'channel mapping family' octet has this
value, the channel mapping table MUST be omitted from the ID header
packet.
5.1.1.2. Channel Mapping Family 1
Allowed numbers of channels: 1...8. Vorbis channel order.
Each channel is assigned to a speaker location in a conventional
surround arrangement. Specific locations depend on the number of
channels, and are given below in order of the corresponding channel
indicies.
o 1 channel: monophonic (mono).
o 2 channels: stereo (left, right).
o 3 channels: linear surround (left, center, right)
o 4 channels: quadraphonic (front left, front right, rear left,
rear right).
o 5 channels: 5.0 surround (front left, front center, front right,
rear left, rear right).
o 6 channels: 5.1 surround (front left, front center, front right,
rear left, rear right, LFE).
o 7 channels: 6.1 surround (front left, front center, front right,
side left, side right, rear center, LFE).
o 8 channels: 7.1 surround (front left, front center, front right,
side left, side right, rear left, rear right, LFE)
This set of surround options and speaker location orderings is the
same as those used by the Vorbis codec [vorbis-mapping]. The
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ordering is different from the one used by the WAVE
[wave-multichannel] and FLAC [flac] formats, so correct ordering
requires permutation of the output channels when encoding from or
decoding to those formats. 'LFE' here refers to a Low Frequency
Effects, often mapped to a subwoofer with no particular spacial
position. Implementations SHOULD identify 'side' or 'rear' speaker
locations with 'surround' and 'back' as appropriate when interfacing
with audio formats or systems which prefer that terminology.
5.1.1.3. Channel Mapping Family 255
Allowed numbers of channels: 1...255. No defined channel meaning.
Channels are unidentified. General-purpose players SHOULD NOT
attempt to play these streams, and offline decoders MAY deinterleave
the output into separate PCM files, one per channel. Decoders SHOULD
NOT produce output for channels mapped to stream index 255 (pure
silence) unless they have no other way to indicate the index of non-
silent channels.
5.1.1.4. Undefined Channel Mappings
The remaining channel mapping families (2...254) are reserved. A
decoder encountering a reserved channel mapping family value SHOULD
act as though the value is 255.
5.1.1.5. Downmixing
An Ogg Opus player MUST play any Ogg Opus stream with a channel
mapping family of 0 or 1, even if the number of channels does not
match the physically connected audio hardware. Players SHOULD
perform channel mixing to increase or reduce the number of channels
as needed.
Implementations MAY use the following matricies to implement
downmixing from multichannel files using Channel Mapping Family 1
(Section 5.1.1.2), which are known to give acceptable results for
stereo. Matricies for 3 and 4 channels are normalized so each
coefficent row sums to 1 to avoid clipping. For 5 or more channels
they are normalized to 2 as a compromize between clipping and dynamic
range reduction.
In these matricies the front left and front right channels are
generally passed through directly. When a surround channel is split
between both the left and right stereo channels, coefficients are
chosen so their squares sum to 1, which helps preserve the perceived
intensity. Rear channels are mixed more diffusely or attenuated to
maintain focus on the front channels.
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L output = ( 0.585786 * left + 0.414214 * center )
R output = ( 0.414214 * center + 0.585786 * right )
Exact coefficient values are 1 and 1/sqrt(2), multiplied by 1/(1 + 1/
sqrt(2)) for normalization.
Figure 3: Stereo downmix matrix for the linear surround channel
mapping
/ \ / \ / FL \
| L output | | 0.422650 0.000000 0.366025 0.211325 | | FR |
| R output | = | 0.000000 0.422650 0.211325 0.366025 | | RL |
\ / \ / \ RR /
Exact coefficient values are 1, sqrt(3)/2 and 1/2, multiplied by 1/
(1 + sqrt(3)/2 + 1/2) for normalization.
Figure 4: Stereo downmix matrix for the quadraphonic channel mapping
/ FL \
/ \ / \ | FC |
| L | | 0.650802 0.460186 0.000000 0.563611 0.325401 | | FR |
| R | = | 0.000000 0.460186 0.650802 0.325401 0.563611 | | RL |
\ / \ / | RR |
\ /
Exact coefficient values are 1, 1/sqrt(2), sqrt(3)/2 and 1/2,
multiplied by 2/(1 + 1/sqrt(2) + sqrt(3)/2 + 1/2) for normalization.
Figure 5: Stereo downmix matrix for the 5.0 surround mapping
/FL \
/ \ / \ |FC |
|L| | 0.529067 0.374107 0.000000 0.458186 0.264534 0.374107 | |FR |
|R| = | 0.000000 0.374107 0.529067 0.264534 0.458186 0.374107 | |RL |
\ / \ / |RR |
\LFE/
Exact coefficient values are 1, 1/sqrt(2), sqrt(3)/2 and 1/2,
multiplied by 2/(1 + 1/sqrt(2) + sqrt(3)/2 + 1/2 + 1/sqrt(2)) for
normalization.
Figure 6: Stereo downmix matrix for the 5.1 surround mapping
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/ \
| 0.455310 0.321953 0.000000 0.394310 0.227655 0.278819 0.321953 |
| 0.000000 0.321953 0.455310 0.227655 0.394310 0.278819 0.321953 |
\ /
Exact coefficient values are 1, 1/sqrt(2), sqrt(3)/2, 1/2 and sqrt(3)
/2/sqrt(2), multiplied by 2/(1 + 1/sqrt(2) + sqrt(3)/2 + 1/2 +
sqrt(3)/2/sqrt(2) + 1/sqrt(2)) for normalization. The coeffients are
in the same order as in Section 5.1.1.2, and the matricies above.
Figure 7: Stereo downmix matrix for the 6.1 surround mapping
/ \
| .388631 .274804 .000000 .336565 .194316 .336565 .194316 .274804 |
| .000000 .274804 .388631 .194316 .336565 .194316 .336565 .274804 |
\ /
Exact coefficient values are 1, 1/sqrt(2), sqrt(3)/2 and 1/2,
multiplied by 2/(2 + 2/sqrt(2) + sqrt(3)) for normalization. The
coeffients are in the same order as in Section 5.1.1.2, and the
matricies above.
Figure 8: Stereo downmix matrix for the 7.1 surround mapping
5.2. Comment Header
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0 1 2 3
0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
| 'O' | 'p' | 'u' | 's' |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
| 'T' | 'a' | 'g' | 's' |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
| Vendor String Length |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
| |
: Vendor String... :
| |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
| User Comment List Length |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
| User Comment #0 String Length |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
| |
: User Comment #0 String... :
| |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
| User Comment #1 String Length |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
: :
Figure 9: Comment Header Packet
The comment header consists of a 64-bit magic signature, followed by
data in the same format as the [vorbis-comment] header used in Ogg
Vorbis, except (like Ogg Theora and Speex) the final "framing bit"
specified in the Vorbis spec is not present.
1. *Magic Signature*:
This is an 8-octet (64-bit) field that allows codec
identification and is human-readable. It contains, in order, the
magic numbers:
0x4F 'O'
0x70 'p'
0x75 'u'
0x73 's'
0x54 'T'
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0x61 'a'
0x67 'g'
0x73 's'
Starting with "Op" helps distinguish it from audio data packets,
as this is an invalid TOC sequence.
2. *Vendor String Length* (32 bits, unsigned, little endian):
This field gives the length of the following vendor string, in
octets. It MUST NOT indicate that the vendor string is longer
than the rest of the packet.
3. *Vendor String* (variable length, UTF-8 vector):
This is a simple human-readable tag for vendor information,
encoded as a UTF-8 string [RFC3629]. No terminating null octet
is required.
This tag is intended to identify the codec encoder and
encapsulation implementations, for tracing differences in
technical behavior. User-facing encoding applications can use
the 'ENCODER' user comment tag to identify themselves.
4. *User Comment List Length* (32 bits, unsigned, little endian):
This field indicates the number of user-supplied comments. It
MAY indicate there are zero user-supplied comments, in which case
there are no additional fields in the packet. It MUST NOT
indicate that there are so many comments that the comment string
lengths would require more data than is available in the rest of
the packet.
5. *User Comment #i String Length* (32 bits, unsigned, little
endian):
This field gives the length of the following user comment string,
in octets. There is one for each user comment indicated by the
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'user comment list length' field. It MUST NOT indicate that the
string is longer than the rest of the packet.
6. *User Comment #i String* (variable length, UTF-8 vector):
This field contains a single user comment string. There is one
for each user comment indicated by the 'user comment list length'
field.
The vendor string length and user comment list length are REQUIRED,
and implementations SHOULD reject comment headers that do not contain
enough data for these fields, or that do not contain enough data for
the corresponding vendor string or user comments they describe.
Making this check before allocating the associated memory to contain
the data may help prevent a possible Denial-of-Service (DoS) attack
from small comment headers that claim to contain strings longer than
the entire packet or more user comments than than could possibly fit
in the packet.
The user comment strings follow the NAME=value format described by
[vorbis-comment] with the same recommended tag names. One new
comment tag is introduced for Ogg Opus:
R128_TRACK_GAIN=-573
representing the volume shift needed to normalize the track's volume.
The gain is a Q7.8 fixed point number in dB, as in the ID header's
'output gain' field. This tag is similar to the
REPLAYGAIN_TRACK_GAIN tag in Vorbis [replay-gain], except that the
normal volume reference is the [EBU-R128] standard.
An Ogg Opus file MUST NOT have more than one such tag, and if present
its value MUST be an integer from -32768 to 32767, inclusive,
represented in ASCII with no whitespace. If present, it MUST
correctly represent the R128 normalization gain relative to the
'output gain' field specified in the ID header. If a player chooses
to make use of the R128_TRACK_GAIN tag, it MUST be applied _in
addition_ to the 'output gain' value. If an encoder wishes to use
R128 normalization, and the output gain is not otherwise constrained
or specified, the encoder SHOULD write the R128 gain into the 'output
gain' field and store a tag containing "R128_TRACK_GAIN=0". That is,
it should assume that by default tools will respect the 'output gain'
field, and not the comment tag. If a tool modifies the ID header's
'output gain' field, it MUST also update or remove the
R128_TRACK_GAIN comment tag.
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To avoid confusion with multiple normalization schemes, an Opus
comment header SHOULD NOT contain any of the REPLAYGAIN_TRACK_GAIN,
REPLAYGAIN_TRACK_PEAK, REPLAYGAIN_ALBUM_GAIN, or
REPLAYGAIN_ALBUM_PEAK tags.
There is no Opus comment tag corresponding to REPLAYGAIN_ALBUM_GAIN.
That information should instead be stored in the ID header's 'output
gain' field.
6. Packet Size Limits
Technically valid Opus packets can be arbitrarily large due to the
padding format, although the amount of non-padding data they can
contain is bounded. These packets might be spread over a similarly
enormous number of Ogg pages. Encoders SHOULD use no more padding
than required to make a variable bitrate (VBR) stream constant
bitrate (CBR). Decoders SHOULD avoid attempting to allocate
excessive amounts of memory when presented with a very large packet.
The presence of an extremely large packet in the stream could
indicate a memory exhaustion attack or stream corruption. Decoders
SHOULD reject a packet that is too large to process, and display a
warning message.
In an Ogg Opus stream, the largest possible valid packet that does
not use padding has a size of (61,298*N - 2) octets, or about 60 kB
per Opus stream. With 255 streams, this is 15,630,988 octets
(14.9 MB) and can span up to 61,298 Ogg pages, all but one of which
will have a granule position of -1. This is of course a very extreme
packet, consisting of 255 streams, each containing 120 ms of audio
encoded as 2.5 ms frames, each frame using the maximum possible
number of octets (1275) and stored in the least efficient manner
allowed (a VBR code 3 Opus packet). Even in such a packet, most of
the data will be zeros as 2.5 ms frames cannot actually use all
1275 octets. The largest packet consisting of entirely useful data
is (15,326*N - 2) octets, or about 15 kB per stream. This
corresponds to 120 ms of audio encoded as 10 ms frames in either SILK
or Hybrid mode, but at a data rate of over 1 Mbps, which makes little
sense for the quality achieved. A more reasonable limit is
(7,664*N - 2) octets, or about 7.5 kB per stream. This corresponds
to 120 ms of audio encoded as 20 ms stereo CELT mode frames, with a
total bitrate just under 511 kbps (not counting the Ogg encapsulation
overhead). With N=8, the maximum number of channels currently
defined by mapping family 1, this gives a maximum packet size of
61,310 octets, or just under 60 kB. This is still quite
conservative, as it assumes each output channel is taken from one
decoded channel of a stereo packet. An implementation could
reasonably choose any of these numbers for its internal limits.
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7. Encoder Guidelines
When encoding Opus files, Ogg encoders should take into account the
algorithmic delay of the Opus encoder.
In encoders derived from the reference implementation, the number of
samples can be queried with:
opus_encoder_ctl(encoder_state, OPUS_GET_LOOKAHEAD, &delay_samples);
To achieve good quality in the very first samples of a stream, the
Ogg encoder MAY use linear predictive coding (LPC) extrapolation
[linear-prediction] to generate at least 120 extra samples at the
beginning to avoid the Opus encoder having to encode a discontinuous
signal. For an input file containing 'length' samples, the Ogg
encoder SHOULD set the pre-skip header value to
delay_samples+extra_samples, encode at least
length+delay_samples+extra_samples samples, and set the granulepos of
the last page to length+delay_samples+extra_samples. This ensures
that the encoded file has the same duration as the original, with no
time offset. The best way to pad the end of the stream is to also
use LPC extrapolation, but zero-padding is also acceptable.
7.1. LPC Extrapolation
The first step in LPC extrapolation is to compute linear prediction
coefficients. [lpc-sample] When extending the end of the signal,
order-N (typically with N ranging from 8 to 40) LPC analysis is
performed on a window near the end of the signal. The last N samples
are used as memory to an infinite impulse response (IIR) filter.
The filter is then applied on a zero input to extrapolate the end of
the signal. Let a(k) be the kth LPC coefficient and x(n) be the nth
sample of the signal, each new sample past the end of the signal is
computed as:
N
---
x(n) = \ a(k)*x(n-k)
/
---
k=1
The process is repeated independently for each channel. It is
possible to extend the beginning of the signal by applying the same
process backward in time. When extending the beginning of the
signal, it is best to apply a "fade in" to the extrapolated signal,
e.g. by multiplying it by a half-Hanning window [hanning].
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7.2. Continuous Chaining
In some applications, such as Internet radio, it is desirable to cut
a long stream into smaller chains, e.g. so the comment header can be
updated. This can be done simply by separating the input streams
into segments and encoding each segment independently. The drawback
of this approach is that it creates a small discontinuity at the
boundary due to the lossy nature of Opus. An encoder MAY avoid this
discontinuity by using the following procedure:
1. Encode the last frame of the first segment as an independent
frame by turning off all forms of inter-frame prediction. De-
emphasis is allowed.
2. Set the granulepos of the last page to a point near the end of
the last frame.
3. Begin the second segment with a copy of the last frame of the
first segment.
4. Set the pre-skip value of the second stream in such a way as to
properly join the two streams.
5. Continue the encoding process normally from there, without any
reset to the encoder.
In encoders derived from the reference implementation, inter-frame
prediction can be turned off by calling:
opus_encoder_ctl(encoder_state, OPUS_SET_PREDICTION_DISABLED, 1);
Prediction should be enabled again before resuming normal encoding,
even after a reset.
8. Implementation Status
A brief summary of major implementations of this draft is available
at [1], along with their status.
[Note to RFC Editor: please remove this entire section before final
publication per [RFC6982].]
9. Security Considerations
Implementations of the Opus codec need to take appropriate security
considerations into account, as outlined in [RFC4732]. This is just
as much a problem for the container as it is for the codec itself.
It is extremely important for the decoder to be robust against
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malicious payloads. Malicious payloads must not cause the decoder to
overrun its allocated memory or to take an excessive amount of
resources to decode. Although problems in encoders are typically
rarer, the same applies to the encoder. Malicious audio streams must
not cause the encoder to misbehave because this would allow an
attacker to attack transcoding gateways.
Like most other container formats, Ogg Opus files should not be used
with insecure ciphers or cipher modes that are vulnerable to known-
plaintext attacks. Elements such as the Ogg page capture pattern and
the magic signatures in the ID header and the comment header all have
easily predictable values, in addition to various elements of the
codec data itself.
10. Content Type
An "Ogg Opus file" consists of one or more sequentially multiplexed
segments, each containing exactly one Ogg Opus stream. The
RECOMMENDED mime-type for Ogg Opus files is "audio/ogg".
If more specificity is desired, one MAY indicate the presence of Opus
streams using the codecs parameter defined in [RFC6381], e.g.,
audio/ogg; codecs=opus
for an Ogg Opus file.
The RECOMMENDED filename extension for Ogg Opus files is '.opus'.
When Opus is concurrently multiplexed with other streams in an Ogg
container, one SHOULD use one of the "audio/ogg", "video/ogg", or
"application/ogg" mime-types, as defined in [RFC5334]. Such streams
are not strictly "Ogg Opus files" as described above, since they
contain more than a single Opus stream per sequentially multiplexed
segment, e.g. video or multiple audio tracks. In such cases the the
'.opus' filename extension is NOT RECOMMENDED.
11. IANA Considerations
This document has no actions for IANA.
12. Acknowledgments
Thanks to Greg Maxwell, Christopher "Monty" Montgomery, and Jean-Marc
Valin for their valuable contributions to this document. Additional
thanks to Andrew D'Addesio, Greg Maxwell, and Vincent Penqeurc'h for
their feedback based on early implementations.
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13. Copying Conditions
The authors agree to grant third parties the irrevocable right to
copy, use, and distribute the work, with or without modification, in
any medium, without royalty, provided that, unless separate
permission is granted, redistributed modified works do not contain
misleading author, version, name of work, or endorsement information.
14. References
14.1. Normative References
[RFC2119] Bradner, S., "Key words for use in RFCs to Indicate
Requirement Levels", BCP 14, RFC 2119, March 1997.
[RFC3533] Pfeiffer, S., "The Ogg Encapsulation Format Version 0",
RFC 3533, May 2003.
[RFC3629] Yergeau, F., "UTF-8, a transformation format of ISO
10646", STD 63, RFC 3629, November 2003.
[RFC5334] Goncalves, I., Pfeiffer, S., and C. Montgomery, "Ogg Media
Types", RFC 5334, September 2008.
[RFC6381] Gellens, R., Singer, D., and P. Frojdh, "The 'Codecs' and
'Profiles' Parameters for "Bucket" Media Types", RFC 6381,
August 2011.
[RFC6716] Valin, JM., Vos, K., and T. Terriberry, "Definition of the
Opus Audio Codec", RFC 6716, September 2012.
[EBU-R128]
EBU Technical Committee, "Loudness Recommendation EBU
R128", August 2011, .
[vorbis-comment]
Montgomery, C., "Ogg Vorbis I Format Specification:
Comment Field and Header Specification", July 2002,
.
14.2. Informative References
[RFC4732] Handley, M., Rescorla, E., and IAB, "Internet Denial-of-
Service Considerations", RFC 4732, December 2006.
[RFC6982] Sheffer, Y. and A. Farrel, "Improving Awareness of Running
Code: The Implementation Status Section", RFC 6982, July
2013.
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[flac] Coalson, J., "FLAC - Free Lossless Audio Codec Format
Description", January 2008, .
[hanning] Wikipedia, "Hann window", May 2013, .
[linear-prediction]
Wikipedia, "Linear Predictive Coding", January 2014,
.
[lpc-sample]
Degener, J. and C. Bormann, "Autocorrelation LPC coeff
generation algorithm (Vorbis source code)", November 1994,
.
[replay-gain]
Parker, C. and M. Leese, "VorbisComment: Replay Gain",
June 2009, .
[seeking] Pfeiffer, S., Parker, C., and G. Maxwell, "Granulepos
Encoding and How Seeking Really Works", May 2012, .
[vorbis-mapping]
Montgomery, C., "The Vorbis I Specification, Section 4.3.9
Output Channel Order", January 2010, .
[vorbis-trim]
Montgomery, C., "The Vorbis I Specification, Appendix A:
Embedding Vorbis into an Ogg stream", November 2008,
.
[wave-multichannel]
Microsoft Corporation, "Multiple Channel Audio Data and
WAVE Files", March 2007, .
14.3. URIs
[1] https://wiki.xiph.org/OggOpusImplementation
Terriberry, et al. Expires July 21, 2014 [Page 28]
Internet-Draft Ogg Opus January 2014
Authors' Addresses
Timothy B. Terriberry
Mozilla Corporation
650 Castro Street
Mountain View, CA 94041
USA
Phone: +1 650 903-0800
Email: tterribe@xiph.org
Ron Lee
Voicetronix
246 Pulteney Street, Level 1
Adelaide, SA 5000
Australia
Phone: +61 8 8232 9112
Email: ron@debian.org
Ralph Giles
Mozilla Corporation
163 West Hastings Street
Vancouver, BC V6B 1H5
Canada
Phone: +1 778 785 1540
Email: giles@xiph.org
Terriberry, et al. Expires July 21, 2014 [Page 29]